The two artists selected by Photo Elysée for FUTURES in 2025 are Zoé Aubry and Younès Klouche. While their artistic practices may appear different, they both explore deeply social and politically engaged themes, reflecting their shared commitment to addressing pressing contemporary issues.
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The two artists selected by Photo Elysée for FUTURES in 2023 are Tamara Janes and Florian Amoser. On the basis of their age, they could both be seen to be beyond the category of emerging artists, however, they have had lives beforehand - Janes as an art director and Amoser as an architect. It is interesting to mention this fact for two reasons that are relevant to our choice on a meta-level. First, it reflects a general sociological fact that is representative of the arts field today: that of the hybridity of creative professions as well as lifelong learning practices, and second, these previous lives - at least from our perspective - have influenced their attitudes and methods.

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Although the results of their work are very different, both aesthetically and philosophically, there are similarities in the way they frame their mission. Both approach their work as long-term processes of artistic research, and for both the apparatus of the camera, as a technological determining factor, and the dispositive, as an important presentational framing device for the perception of images, are important elements. Based on these notions, both could be characterized as "imagineers" in that they consciously question, reconstruct and engineer both the production and perception of images.

The two artists selected by Photo Elysée for FUTURES in 2023 are Tamara Janes and Florian Amoser. On the basis of their age alone, they would both seem to be beyond the category of emerging artists. However, their biographies show that they have had lives before being artists - Janes as an art director and Amoser as an architect. It is interesting to mention this fact, not as a disclaimer, but for two reasons that are relevant to our choice on a meta-level.

First, it reflects a general sociological fact that is representative of the arts field today: that of the hybridity of creative professions as well as lifelong learning practices. This means that an overly narrow definition of what it means to be an emerging artist doesn't reflect the realities of the lives of many creative people today. On a second level, these previous lives - at least from our perspective - have influenced the attitudes and methods of these two artistic positions and how they approach, analyse and help to reshape how we can perceive contemporary conditions and conditions of the image. 

Although the results of their work are very different, both aesthetically and philosophically, there are similarities in the way they frame their mission. Both approach their work as long-term processes of artistic research, and for both the apparatus of the camera, as a technological determining factor, and the dispositive, as an important presentational framing device for the perception of images, are important elements in their respective thinking and artistic practices. 

Based on these notions, both could be characterised as 'imagineers' in that they consciously question, reconstruct and engineer both the production and perception of images - whether pre-existing or of their own making. Both artistic positions present new ways of dealing with data-based realities and how to manipulate them. They challenge and expand conventional definitions of what photography and cultural heritage can be today.